Online resources

Videos, links and resources for young artists, based on topics from Sounding Board seminars

Do I need an Agent?

How to approach an agent

Top tips for approaching an agent:

Agents receive a huge amount of requests from emerging artists. How can you make yours stand out?

Make it as easy as possible for the agent to learn about you. Write a short email that introduces yourself, with a link to a performance clip they can watch or listen to online.

Don’t send a bulky press pack in the post with CDs. When did you last use a CD player?

Show that you’ve thought about who you’re communicating with. Make sure each email is personalised (never start with ‘Dear Agent’!). Have you thought about how you might fit into this particular agency’s roster? Show them you’ve done some research.

What makes you different from other young artists? For example, tell them about your unique and thoughtful programming, or other distinctive artistic feature.

Show that you have scope for development – as all artists, at every stage, do!

Finally, remember that agents are often tipped off about exciting new artists by their existing contacts, whether that’s a conductor, friend or conservatoire personnel. Remember to always present yourself at your best – you never know who may be listening!

What is the key role of an artist manager?

Artist manager vs booking agent

Do I want an artist manager or a booking agent?

Artist managers and booking agents offer very different services. It’s about more than getting a busy contact diary!

Booking agency

Artist manager

Provides artists with a diary service

Provides advice for its artists and offers strategic career development

Seeks to engage artists in any concert bookings

Has strong relationships with concert promoters who rely on the agent’s artistic credibility

Purely commercial basis

Interested in the longevity of its artists’ careers

How to approach small promoters

Top tips for approaching small promoters

Make sure you personalise your emails. No one likes feeling like another name in a list.

Research the promoter before you get in touch. Have a look at their current or previous seasons – do you think you fit into their artistic ethos? If so, prove it!

Unfortunately, just having a great CV and a nice recording often isn’t enough to grab a promoter’s attention. Go into the communication with the assumption that you need to do a lot to stand out. What might the promoter want from you that other artists can’t offer?